One of the best-known contemporary composers celebrates his 80th birthday.Continue reading
Cimbalom (hammered dulcimer) player Jenő Lisztes’ concert with the New York Philharmonic has captivated American critics, even garnering attention in The New York Times, writes kultura.hu.
Having triumphed in numerous renowned concert halls and collaborated with film score composer Hans Zimmer, the virtuoso artist graced the stage at Lincoln Center, a pinnacle institution in the realm of music, alongside Finnish conductor, Susanna Mälkki.
In his interview, the artist disclosed that Mälkki’s invitation followed a concert broadcast in 2020. The joint performance commenced uniquely with a solo by Lisztes, an unconventional start of a typical concert program.
Jenő Lisztes’ view in the Lincoln Center. Photo: Facebook
Franz Liszt’s (1811-1886) Hungarian Rhapsody No. 2 unfolded without the customary orchestral accompaniment. Discussing this type of solo performance, the artist expressed: “Everyone worldwide knows the melody of the second Rhapsody, if only because of the Tom and Jerry episode with the piano. The informal playing before the ending of the piece allows me to showcase my own interpretation of the piece and the virtuosity of the cimbalom.”
However, the use of the instrument in gypsy music is essential, but in symphonic orchestras it is infrequent. It was predominantly 20th-century contemporary composers, such as György Kurtág (b. 1926), who ventured into creating works for it. The artist commented that most of these attempts were peculiar; for instance, the instrument had to be entirely retuned, making it challenging to incorporate into a concert repertoire. He also highlighted the older school, citing Géza Allaga (composer, 1841-1913), who despite originally being a cellist, was fond of the cimbalom. He composed etudes and smaller pieces, though these are somewhat outdated. Lisztes expressed the need for works that would enrich the cimbalom repertoire.
Apart from his performances, he is passionate about teaching. He deems it crucial, because in his view, active musicians who also teach are scarce, and most teachers seldom perform in concerts.